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Item 阿莫多瓦電影中的互文性(2017) 楊羽絜; Yang, Yu-ChiehMy thesis explores the legacy of Pedro Almodóvar, a Spanish film director, screenwriter and producer of international fame. The ways Almodóvar deals with the role of women, sexual desire, violence, drugs, homosexuality and many controversial issues have built his reputation. This renowned director was a pioneer of La Movida Madrileña, a short cultural renaissance that began in Madrid after the death of dictator Francisco Franco. Almodóvar was greatly influenced by pop culture and the rise of Postmodernism in the 1960s. Besides this inspiration from cultural trends and social movements, his creative style was also inspired by his own unique life experiences. In this thesis, I focus on how Almodóvar uses intertextuality as a cinematic technique to depict stories and entertain audiences. This thesis is divided into four chapters. Chapter one is a sketch of Spain’s cultural background in the 20th century, including chronicling the most significant historical events and outlining the contemporary Spanish film industry. In chapter two, based on critics’ statements and Almodóvar’s interviews, I examine this director’s whole life experiences and the themes and genres of his films. Chapter three is an overview of intertextuality, including allusion, pastiche, parody, quotation and mise en abyme as postmodernist devices, with a focus on how they are presented in an Almodóvaran way. Reviewing their historical use first, I next concentrate on how these devices function in Almodóvar’s films. Finally, my conclusions come in chapter four.Item 「燃燈佛授記」本生敘事與圖像之互文性研究--以漢譯佛典故事和西北印、中亞與雲岡石窟造像為例(國立政治大學中國文學系, 2012-06-01) 李幸玲本文藉由「互文性」（intertextuality）理論對「燃燈佛授記本生」故事 進行經典文本與圖像系譜式的探溯與分析。通過「燃燈佛授記」本生故事 與佛教石窟藝術創作之間，內外雙重互文分析，可明白文本所具有的「互 文性」依循「存異」與「求同」的原則，不斷對本源進行解構，也同時重 構出新文本，同時兼具解構與創造的雙重意義。考察西北印犍陀羅石雕、 中亞龜茲石窟的壁畫，乃至中國雲岡石窟造像中的「燃燈佛授記本生」作 品，皆有將「燃燈佛授記本生」與「阿輸迦施土因緣」主要情節融合於「異 時同構」的石雕或壁畫的情形，同時也各保有不同細節表現，正可驗證文 本「互文性」所具有解構與創造的雙重特性。Item 異質文本的互文性：以〈木蘭詩〉及迪士尼動畫《木蘭》為核心的考察(國立東華大學中國語文學系, 2012-12-01) 林淑雲Item 杜甫歌行詩後世模擬析論--以〈觀打魚歌〉、〈又觀打魚〉為例(國立中山大學中國文學系, 2015-06-01) 徐國能Item Morrison's Realization(英語學系, 2002-01-??) Maniushree S. KumarRealization (1996) is part of Madison Morrison’s vast and ongoing cosmological epic sequence. In it the author juxtaposes the moment-to-moment empirical perceptions of a narrative consciousness in the late 20th-century U.S.A. with short passages from the classic sacred texts of India—the Upanishads, Dhammapada and Bhagavad Gita. Here, by focusing on the temporal effects of this juxtaposition, I explore the ways in which Realization combines (interweaves, interplays) modernist and postmodernist techniques. The Indic intertexts, a kind of metaphysical and ethical discourse “spoken” from outside the immediate temporal context or present of the narrative proper, that is, from a position in the remote past which can equally be seen as the remote future, in various ways “put into play” the empirical narrative discourse—reinforcing but simultaneously undermining and putting it in question, laying bare its essential fleetingness, emptiness. Thus while the empirical narrative suggests, imitates, parodies certain high modernist forms, the decentering or destabilizing effect of the Indic intertexts suggests a postmodernist (self-) “distancing” at work on another level. The ironic force of these intertexts is, after all, fundamentally temporal: it distances the grounding (“self-present”) narrative from itself, and thereby forces us—to cite a Jamesonian description of postmodernism—to “see the present historically in an age which has forgotten how to think historically in the first place.”Item 彎弓征戰作男兒，夢裡曾經與畫眉--《樂府詩集》二首〈木蘭詩〉的互文性分析(臺北市立教育大學人文藝術學院, 2011-12-01) 林淑雲